An instruction of me, born I-Lam, Taiwan, 1977.
The programming techniques and methods I use to create my visual images are based on an accidental discovery I made in 1999. As I developed my newly acquired skills, something unique made itself known to me. The limitations I encountered were related to my using traditional applications to create innovative composition.
In 2000, I also tried to create sonic phases. After a year of experiments the results were a time consuming process of changing sound dots to line, and modula.
In 2001 to 2003, I have been searching for variety of ways to morph sound and have started to encode the automatic pattern to run it.
I sample all kinds of objects within my system, in order to portray a picture or segment of sound. This personalized code is the main tool I use to compose my music.
I am not quite concerned with forms or categories of music. Many descriptions exist that tell us how music is played and what kinds of hardware and software could be used. This is the same as setting rules on how to present sound and images.
I think, when a composer chooses his/her tools, the nature of the creation is complete. I have spent too much time seeking explanations of how sound is recreated. In my opinion, sound is a vibrating and mutative activity.
Sound is a locus which moves, where sounds are shaped. I believe it is a random process, with vibration.
The sensibilities of mathematical sequence are of interest to me. My wish is to sink the balance of sound, to morph it, animate it, and extract if from abstract feeling.
I don't use tools much, such as blur or resize, to affect spacial enhancements or bits of digital sound. From zero to one second of sound there is silence; that is, there is a space.
Regarding source or how to sample to my sound, I do not make a recording most of the time. The samples are created from a computer program. There are few tracks. I have used 10 seconds or so from an old tape that I recorded using a walkman. Through a program code, I then transform the original sounding to what is being heard now.
Usually I use 1 to 4 samples. Some situations have no pre-samples and unfold instantly from my computer. Time is a mere de/construction in a piece of work. A progression of sound in time. I do not usually start a segment of sound at a certain point. For a pre-set, say 4 minutes, I will view this 4 minutes as entire substance.
I usually program randomly at some point. I do not think construction of sound should start from the second zero until the end. I see this 4 minutes as a congregation of sound movement. Any part of it can be the beginning and also the end of this exercise. Sound does not float with any so-called rules. I do care how sound splits and dissolves the liner timing.
2/1.3/1....4/1....X/1. Also multiple dissections of edge restructed. Sound moves in time, is under no limitations. Many times, I kept the time returning back and forth. That is, I usually run many sounds in all that movement motion simultaneously.
In the original sample, I see it as a motherhood. After a period of time, newness is created. So that a sample is created and the sub-set of the sample are the main elements of my sound. This process does not enable me to guess its result unless I have used a programmed code to run it on.
A sense of landscape discouraged me from using plug-ins, in general. I had tried several to add effects to sound. However, I abandoned this. In space, I do not decay a sound, blur the sound, or use delay to create a sense of space. To me, if there is sound, even through its volume of inaudible, the implication is that it exists is space.
Each part of sound has completed degree of freedom. Neither comparison to transaction of contest. I care about the edge of sound and its intersection between the feminine or masculine. I have tried to distinguish both sexes in such uncertain situations in order to create balance and merger. This is how I judge how well of a piece of work is made.
My training in traditional painting and the visual arts has provided me with skills to enhance my auditory perception. I rediscovered my painting skills to lay down the boundaries of a piece: at first, the shaping and then the use of dry brush to render the nuances. The objective of my work is the expression of my feelings.